FEBRUARY 2019
2018/19 MAINSTAGE JANE EYRE + MY ÁNTONIA + AMERICAN JUNKIE + RETURNING THE BONES + BEHOLD THE DREAMERS 2018/19 TOURING STORIES THE UPSIDE DOWN BOY / EL NIÑO DE CABEZA + NEW SHOES + THE ODYSSEY: AN EXPLORATION OF MYTH, MAGIC, AND MONSTERS
January/February 2019 Volume 15, No. 4
JAN/FEB 2019 Paul Heppner President Mike Hathaway Senior Vice President Kajsa Puckett Vice President, Sales & Marketing Genay Genereux Accounting & Office Manager Production Susan Peterson Vice President, Production Jennifer Sugden Assistant Production Manager Ana Alvira, Stevie VanBronkhorst Production Artists and Graphic Designers Sales Amelia Heppner, Marilyn Kallins, Terri Reed San Francisco/Bay Area Account Executives Devin Bannon, Brieanna Hansen, Ann Manning Seattle Area Account Executives Carol Yip Sales Coordinator Marketing Shaun Swick Senior Designer & Digital Lead Ciara Caya Marketing Coordinator
Contents Feature 3
Millennial Audiences
Dialogue 9 Round Table Discussion with the TeenTix Press Corps
Intermission Brain Transmission 15
Test yourself with our trivia quiz!
Encore Stages is an Encore Arts Program that features stories about our local arts community alongside information about performances. Encore Arts Programs are publications of Encore Media Group. We also publish specialty publications, including the Official Seattle Pride Guide and the SIFF Guide and Catalog. Learn more at encoremediagroup.com
Encore Media Group 425 North 85th Street Seattle, WA 98103 p 800.308.2898 | 206.443.0445 f 206.443.1246 info@encoremediagroup.com www.encoremediagroup.com Encore Arts Programs and Encore Stages are published monthly by Encore Media Group to serve musical and theatrical events in the Puget Sound and San Francisco Bay Areas. All rights reserved. ©2019 Encore Media Group. Reproduction without written permission is prohibited.
2 ENCORE STAGES
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Millennial Audiences
Danielle Mohlman (center in blue headband) with a group she arranged to see The Impossibility of Now by Y. York at Thalia’s Umbrella. Courtesy of Danielle Mohlman.
Playwright Danielle Mohlman reflects on a three-year effort to bring Millennial audiences to Seattle theatre and her hopes for the future of this theatre group.
When I moved to Seattle in 2015, I didn’t know anyone involved in theatre. In fact, I didn’t know anyone who even enjoyed going to the theatre. So rather than learn a new city and the seemingly infinite number of theatres that came with it all by myself, I made a rational choice: I created a group for Millennials to experience theatre together. The first outing I planned was to see Come from Away at Seattle Repertory Theatre in December 2015. Only two friends joined me in the audience that night, but it remains the most talked about outing—even three years later. But here’s the thing: I didn’t know Come from Away was going to blow up the way it did. I couldn’t have predicted a cast album, a Broadway run and a
national tour that sells out houses almost every night. And I remind these regretful friends of this fact: I can do all the research in the world, but at the end of the day I’m inviting them to take a chance on a new play with me. I started with an email list of ten Millennials who wanted to give theatre a try. The list has now grown to forty theatre lovers, including folks who work in the industry but want to make friends while seeing new plays. The group started as a pay-what-you-can experience, but we’ve moved away from that as folks become more comfortable spending money on theatre. And while the original scope was broad—“Let’s see some plays!”—we now exclusively attend plays written by female and encoremediagroup.com/programs 3
Native Gardens by Karen Zacarias, produced by Intiman Theatre. Pictured: Sophie Franco (Tania) and Phillip Ray Guevara (Pablo). Photo by Naomi Ishisaka.
non-binary playwrights, playwrights of color and LGBTQIA+ playwrights.
“You have been a huge influence on me from an arts perspective,” Greg Socha, a marketing manager in his early 30s told me. “My go-to entertainment option used to be microwaveable popcorn and Netflix. And it still is. But I’ve realized that I love having the theatre as something to look forward to.” Over the summer, I talked Socha into subscribing to the 5th Avenue Theatre with me. They were running a special on preview performances and I, knowing what a big fan of musicals he is, immediately reached out to him. “I was counting down the days until we saw Come from Away—so worth it,” Socha said to me. “At this point, I’m getting more comfortable with actually making arts plans. I’ve even invited you to stuff!” It’s true. Last season, Socha went with me to see two shows, The Impossibility of Now at Thalia’s Umbrella and Patti & the Kid at On the Boards, neither of 4 ENCORE STAGES
Native Gardens by Karen Zacarias, produced by Intiman Theatre. Pictured: Julie Briskman (Virginia), Gloria Alcalá (Landscape Technician) and Sophie Franco (Tania). Photo by Naomi Ishisaka.
which we connected with. It turned out our favorite show all year was Two Trains Running at Seattle Rep—a play that Socha invited me to.
“One year ago, I wouldn’t have even considered going, or at the least would have talked myself out of it but knowing that I had a theatre buddy made me reach out . . . ” “One year ago, I wouldn’t have even considered going, or at the least would have talked myself out of it but knowing that I had a theatre buddy made me reach out,” Socha said. “When
we actually got to the theatre, I would say that I was nervously excited. I was hoping we would have a good time, but you never know.” Socha was put at ease five minutes into the performance and at intermission we were both beaming.
Siddhi R. Ghai, a volunteer festival coordinator at Tasveer, has been with this group from the beginning. While she was living in India, she’d often see one or two plays a month. When I learned about Pratidhwani, Seattle’s only South Asian theatre company, I knew that Ghai was going to be a fan. “The few Pratidhwani plays we went to, Queen and A Small History of Amal, Age 7, were very interesting for me because I got to share a little bit of my culture with you,” Ghai told me. She added that she loved getting all the cultural references without having to think about it. When we attended A Small History of Amal, Age 7 earlier this season—a play Ghai invited me to—she grabbed my arm as soon as we walked
THE (R)EVOLUTION OF STEVE JOBS FEB. 23–MAR. 9
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This innovative and crowd-pleasing portrait of Apple’s visionary co-founder dazzles with “visually stunning” (ABQ Journal) staging and lyrical, cutting-edge music mixing traditional and electronic instrumentation. Compelling, funny, and touching, the unique production “does what opera does best: giving audiences a glimpse into the inner life of its title character” (Marin Independent Journal). Don’t miss this remarkable example of theatrical imagination. West Coast Premiere!
SEATTLEOPERA.ORG/STEVEJOBS 2018/19 Season Sponsor: Lenore M. Hanauer Production Sponsors: ArtsFund, C.E. Stuart Charitable Trust, Tagney Jones Family Fund at Seattle Foundation Co-commission with Santa Fe Opera and San Francisco Opera, with support from Cal Performances © Ken Howard For Santa Fe Opera, 2017
In English with English subtitles. Evenings 7:30 PM Sunday 2:00 PM Featuring the Seattle Opera Chorus and members of Seattle Symphony Orchestra.
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into the theatre. She was having a visceral reaction to the sound design— audio from a train station in Mumbai, the city where she grew up. When I asked her what it’s been like to see plays in a group setting, with people she may or may not know, her response was overwhelmingly positive. “Before meeting you, I never had the opportunity to discuss plays with a diverse group or people who I don’t know,” Ghai said to me. “It’s so interesting to get different perspectives because I feel it helps us expand our own cultural horizons.”
The Wolves by Sarah DeLappe, produced by ACT Theatre. Photo by Chris Bennion.
“It’s amazing how the same piece of art can impact people so similarly— or so differently!”
Jennifer Voorn, a manager of product management in the healthcare IT sector, has also gotten a lot out of these group outings. She’s part of the theatre group’s origin story and, along with Ghai, attended that first performance of Come from Away with me. In the last year, she’s come with me to see The Crucible and The Wolves at ACT Theatre, Native Gardens at Intiman Theatre and The Impossibility of Now. “I have greatly enjoyed meeting new people and hearing their perspective,” Voorn said. “I also enjoy experiencing the different levels of response a group can have to the same piece of art, in terms of what can make someone laugh, cry or be visibly uncomfortable. It’s amazing how the same piece of art can impact people so similarly—or so differently!” Last season, Voorn took visiting family to see Into the Woods at Village Theatre. And, of course, she took a chance on some last-minute tickets to see Hamilton with her husband at The Paramount.
The Wolves by Sarah DeLappe, produced by ACT Theatre. Photo by Chris Bennion. 6 ENCORE STAGES
“We bought last minute tickets on SeatGeek thirty minutes before the show,” Voorn said. “I was so nervous we wouldn’t make it to the venue on time. Once we arrived downtown, the smile
on my face was so big. I will always remember that night.”
Melissa Herrett folded into my theatre group when she moved to Seattle in 2016, but a new dog and a job that requires her to travel has prevented a more consistent theatre habit. “I do see more shows now but that’s mainly because you invite me,” Herrett told me, adding that she wants to start bringing theatre into date nights with her boyfriend, substituting plays for the standby of dinner and a movie.
from... POETRY SLAMS to POLICY PANELS DINOSAURS to DRONES NEUROSCIENCE to NATURE CELLOS to CHEMISTRY METEORS to MEDITATION ROCKET SCIENCE to ROCKING OUT...
Herrett did see Lauren Weedman Doesn’t Live Here Anymore at ACT and The Impossibility of Now with the group this year. “I prefer seeing shows with other people because my favorite part about them is being able to discuss after the fact,” Herrett said. “It’s nice to go together so you all have the experience of seeing the same performance. It would also be interesting to discuss a show that someone saw on a different night or at a different theatre and discuss how things varied from performance to performance.”
Marissa Spiegel, an accountant, also enjoys the group outings. “I think it’s really fantastic to go see plays with a variety of people,” Spiegel said. “I think the people around you can really influence the show—not just the people you know there but the rest of the audience as well.” Spiegel attended group outings to see The Wolves and The Impossibility of Now. For The Wolves, Spiegel stayed with me to participate in the post-show discussion, which meant a lot to me. “My favorite type of experience has been when there is a group of people that has never seen the show and has
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FEB 10-12 ∙ SIFF FILM CENTER
NT Live: I’m Not Running David Hare’s latest play, a fictional and explosive exploration of the Labour Party, stars Siân Brooke and Alex Hassel.
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relatively little context or background knowledge,” Spiegel said. “It’s great to see the show with a group that has fresh eyes to digest and talk about it afterwards.”
I have big dreams for the future of this group. I average about one theatre outing each month, but I’d love to get to a point where those outings happen on a day that people can count on— the first Wednesday of the month, for example. I’d love to create partnerships with local restaurants, so audience members can gather for a discounted drink or appetizer after the show and talk about what they just saw. I’d love to expand my network beyond Millennials I know, encouraging regulars to bring a friend along each time. And I’d love theatres across Seattle to work together to incentivize a younger audience base, rather than treating ticket sales like a competition for resources.
But for now, while this is still an endeavor run by a volunteer staff of one, the most important thing I can do is keep planning events. I wish I could say that in the last three years, the group has grown exponentially and that every single event is a rousing success. But that would be a lie. Sometimes I email my group of forty and the only person who responds is my husband. Sometimes I can’t even get him to come with me. But I keep coming back, I keep putting in the work and I keep growing my network. Because I know these audience members count on me to take a chance on something new with them. And that’s enough to keep me going.
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Danielle Mohlman is a nationally produced feminist playwright based in Seattle. Her play Nexus is among the 2015 Honorable Mentions on The Kilroys list. She is an alumnus of the inaugural class of Playwrights’ Arena at Arena Stage and a member of the 2018 Umbrella Project Writers Group.
How to Start Your Own Arts Group Excited about introducing your friends to more art? Start your own group for art lovers!
Choose a focus!
Danielle decided to choose theatre as her group’s focus, but yours could focus on dance, the symphony or even museums! Identify folks in your friend group who are curious about your passion and you’re on your way.
Pick a performance!
Identify a performance that’s interesting to you and check Goldstar and TodayTix for discounts before you buy. Most performing arts organizations offer discounts for groups of ten or more, so be sure to check in with the box office if your group is large enough.
Make a night of it!
Invite your group to get dinner before the performance or gather for a post-show drink. Not only is it a fun way to create community, it’s also the perfect place to download what you’ve just seen or excitedly anticipate what you’re about to see.
Cherdonna Shinatra DITCH On view January 26–April 28, 2019 Also on view: Tschabalala Self and The Rain Doesn’t Know Friends From Foes: Ramin Haerizadeh, Rokni Haerizadeh, Hesam Rahmanian Image: Courtesy of the artist. Design: Greg Newcomb. Photo: Jiji Lee. Cherdonna Shinatra: DITCH is organized by the Frye Art Museum and curated by David Strand, head of exhibitions and publications. Generous support is provided by Vulcan, Inc., the Robert Chinn Foundation, and the Seattle Office of Arts & Culture.
704 Terry Avenue | fryemuseum.org | Always Free
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Keep it going!
The key to a successful arts group is to just keep scheduling outings. Not every outing has to be a roaring success with fifteen of your friends. Sometimes only one or two others will be able to attend. That’s okay! Any opportunity to introduce friends to art is a success in our book.
A NOTE FROM THE MANAGING DIRECTOR Welcome, friends! Thank you for joining us for American Junkie as we enter the second half of our 2018-2019 season. Our first two shows were beloved classics with timeless themes. But now, with American Junkie, Returning the Bones, and Behold the Dreamers we find ourselves in contemporary America. These stories illustrate topics that are top of mind today: addiction, immigration, racism, poverty, and the growing sense of disconnection in our society. They also bring with them profound hope, resilience, and love as they allow for true connection. As we navigate the rapid pace ups-and-downs of our modern world, it is this connection with each other, and this hope for a better day, that lifts us, isn’t it? We reach for the resilience in ourselves and strive to give strength to each other.
MANAGING DIRECTOR
Kayti Barnett-O’Brien
I am so excited to share these incredible stories with you, and I hope you are as moved and inspired by them as I am. May coming to the theatre bring you closer to those around you, fill you with hope, and give you joy. Thank you for coming to American Junkie. Kayti Barnett-O’Brien Managing Director
DARE TO LIVE YOUR DREAMS
BUY YOUR TICKETS TODAY!
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2018-19 TOURING STORIES The Odyssey: An Exploration of Myth, Magic, and Monsters adapted from Homer’s Odyssey by Annie DiMartino TOUR DATES March–June GRADES K-6 THEMES Oral tradition, character archetype, mythology, perseverance
JANE JONES Founder & Founding Co-Artistic Director MYRA PLATT Founding Co-Artistic Director KAYTI BARNETT-O’BRIEN Managing Director
SEASON SUPPORT
Journey with Odysseus as he and his crew battle the cyclops Polyphemus, survive the magic potion of the goddess Circe, and navigate their way through the Sirens' songs! After being gone from Ithaca for the last 20 years, will Odysseus be welcomed or cursed to live life on the open seas? Adapted from Homer's epic poem, The Odyssey: An Exploration of Myth, Magic, and Monsters celebrates Greek tradition and theatrical mask, the importance of teamwork and problem-solving, and the power of ingenuity and perseverance.
Want to deepen a student’s touring experience? Gift a workshop! THEMES IN MOTION Grades K-2 In each 30-45-minute Themes in Motion Workshop, students collaborate within a creative drama framework to physically and vocally activate moments from a Book-It Arts and Education touring performance. Through playful exploration, students make connections between the touring performance, the book, and their own lives.
MEDIA SPONSORS
ADAPT-IT, STAGE-IT Grades 3-5 Our Adapt-It, Stage-It Workshop takes students through the process of adapting literature for the stage in the signature Book-It Style. This 45-60-minute workshop asks students to think critically and creatively as they analyze a given text and bring it to life through collaborative artistic interpretation.
For more information or to book your tour and workshop today, call: 206.428.6266 or email education@book-it.org. A-2 BOOK-IT REPERTORY THEATRE
Additional generous support is provided by numerous local businesses, family foundations, and hundreds of individuals. Many thanks to all our supporters.
By Tom Hansen Adapted by Jane Jones and Kevin McKeon Directed by Jane Jones* CAST Jesica Avellone Ian Bond Hazel Rose Gibson Tim Gouran Brian Gunter** Marco Adiak Voli Jeremiah Givers** Caitlin Denney-Turner
PRODUCTION AND ARTISTIC TEAM Jen Taylor Catherine Cornell Tristan Roberson+ Kelly McDonald Kyle Thompson Cedric Wright Bryce Bartl-Geller Ian Stewart Kristin L. Schoenback
Assistant Director Scenic Designer Lighting and Projections Designer Costume Designer Sound Designer Properties Designer Assistant Projections Design Dramaturg Directing Intern
Mom/CJ/Sasha/Ensemble Tom Hansen Gisele/Gretchen/Ensemble Cody/Psychiatrist/Timmy/Ensemble Dad/Sverre/Johnny/Ensemble Scotty/Greg/Ensemble Stage Manager Assistant Stage Manager
PRODUCTION STAFF Dan Schuy Benjamin Radin Nick Passafiume Jocelyne Fowler Shawna Grajek Shelby Choo Jessica Christensen Cynthia Moore Blaine Taylor Charlie Minshall Toby Folkert Adrian Delahunt Danny Herter Jessica Jones Anna Bowen
Production Manager Technical Director Assistant Technical Director Costume Shop Manager Assistant Production Manager Master Carpenter Scenic Charge Artist and Properties Master Scenic Artist Scenic Artist Scenic Carpenter Scenic Carpenter Scenic Carpenter Master Electrician/Board Op Sound Engineer/Board Op Dresser
* The director is a member of the Stage Directors and Choreographers Society, a national theatrical labor union. **Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States +United Scenic Artists, Local USA 829 of the IATSE is the union representing Lighting and Sound designers in this Live Performance. encoremediagroup.com/programs A-3
A NOTE FROM THE ADAPTERS We were first introduced to Tom Hansen five years ago, when Jane was doing research for another play that involved addiction. Tom was gracious and more than happy to meet with her and talk to the actors, and his perspective proved invaluable to the cast. She was gifted a copy of American Junkie and we both devoured the book. It resonated, deeply with us, and we were struck by the candor and honesty of Tom’s writing. Jane has wanted to find a way to bring the book to the stage ever since. American Junkie is rather an asymmetrical choice for Book-It, as it details Seattle’s
ADAPTER
Jane Jones
history during the grunge years and grapples with the sensitive and pertinent topic of opioid addiction. But it’s a topic that desperately needs addressing, as over 100 lives are lost in America daily as a result of the epidemic, and the numbers are growing. American Junkie is at once a horror story and a tale of heroic redemption. It is a story of heartbreaking loss, and of love and forgiveness. It is both a confession and a cautionary tale. It is also very compelling literature, written by a guy with nothing to lose, no punches to pull. In the midst of degradation, Tom somehow allows us to champion him with admiration for his sheer willingness to survive. His vulnerability is his salvation. In rehearsal, we knew that our own vulnerability as artists was essential in telling the story. We told our own stories, and as we discovered who these people were that we were embodying in Tom’s world, we supported each other and the choices we were
ADAPTER
Kevin McKeon
making to bring them to life. Everybody on the team, the designers, the staff, and the cast, realized the gravity of the material we were presenting and approached it with great sensitivity and respect. Mostly, none of us wanted to sanitize Tom’s experience. The memoir is gritty, graphic, at times unbearable, and to sugar-coat his story would diminish its power. Since we started this project, many people we told about it would spontaneously share their own stories of how addiction affected their families. It continues to be an issue that confronts us all, both individually and as a society. Huge thanks to Ann Ramsay-Jenkins, Dr. Rosemary Kelly, and Dr. Doug Zatzick for taking us behind the scenes to witness drug treatment first-hand. When we first met Tom, his original publisher had gone bankrupt and American Junkie was out of print. Recently, a brand-new edition of the book has been published by Soft Skull Press, and prospects for the book finding a wider audience have increased greatly. Last April at the Book-It season launch event at Elliott Bay Book Company, Tom read from his memoir. An audience member asked what his greatest hope was in seeing American Junkie on stage. He responded, “If it can save one life, it will be worth it.”
— Jane Jones and Kevin McKeon
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A DEEPER LOOK By Ian Stewart
In American Junkie, Tom Hansen allows us an honest and intimate view of his slide into addiction, and his journey to recovery. His tale resonates in our society today as we grapple with the growing Opioid Epidemic.
In just the last five years, synthetic opioid use exploded and quickly surpassed all other opioids as the leading cause of overdose death. Drugs like fentanyl, which is 50 times stronger than heroin, can very quickly lead to overdose, especially because they are often sold as heroin or mixed with other drugs. The result has been devastating: in 2017, there were nearly 50,000 opioid overdose deaths in the U.S. Americans are now more likely to die of an opioid overdose than from a car crash.
3 Waves of the Rise in Opioid Overdose Deaths
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Other Synthetic Opioids
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e.g.,Tramadol and Fentanyl, prescribed or illicitly manufactured
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Heroin
4 3 2
WAVE 1: Rise in Prescription Opioid Overdose Deaths
WAVE 2: Rise in Heroin Overdose Deaths
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Over 100 people in the United States die every day from overdosing on opioids, and that number continues to rise. The crisis began quietly, in the early 2000s, with the over-prescription of opioid painkillers like OxyContin. Throughout the decade, prescription opioid abuse climbed steadily—by 2006, 6.1 million Americans, or 2.4% of the population, had abused OxyContin. (For comparison, at the height of the crack epidemic there were fewer than half a million users across the U.S.)
2007 to 2011 and have more than tripled since then. Eighty percent of heroin users in 2011 had used a prescription painkiller first.
Deaths per 100,000 population
A NATIONAL CRISIS
WAVE 3: Rise in Synthetic Opioid Overdose Deaths
SOURCE: National Vital Statistics System Mortality File
A lethal dose of heroin (left) and fentanyl (right). Credit: New Hampshire State Police Forensic Lab.
But the crisis didn’t stop there. Many people who abuse prescription opioids switch to using heroin, which is stronger and less expensive than painkillers. Heroin use rose sharply: heroin overdoses nearly doubled from
The opioid epidemic has hit the United States harder than any other country. The U.S. has about four percent of the world’s population, but 27% of all drug overdose deaths, and 80% of all opioid prescriptions. Even when the consequence isn’t as dire as death, the secondary effects of drug use, such as the spread of diseases and the number of children in foster care, are also worsening. Although President Trump declared the opioid epidemic a public health emergency in 2017, his administration and the federal government have only taken minimal action to address the issue. Experts believe major actions will need to be taken to bring this growing crisis to an end. encoremediagroup.com/programs A-5
HOW DID THIS HAPPEN? Doctors have long known morphine is an excellent painkiller, but also that it can be devastatingly addictive. For most of the 20th century, researchers tried to develop the “Holy Purdue’s promotional items for OxyContin and other opioid painkillers, which included pens, plush dolls, and a swing album. Source: Stat News. Grail” of pain medications, which would replicate the painkilling effects of morphine without leading to dependence.
WHAT ARE OPIOIDS?
In the mid-20th century, prescription drugs became a multi-billion dollar industry. At the peak of the industry’s growth there were more than 100,000 sales representatives for pharmaceutical companies working in the U.S., and the government did little to limit these marketing initiatives. (Today, the U.S. and New Zealand are the only two countries where it is legal to market prescription drugs directly to consumers.)
Opioids are substances that bind to the brain’s opioid receptors, which control pain and reward responses. These include opiates—drugs that are derived from the opium poppy plant. Morphine, heroin, and codeine are opiates, while synthetic opioids include strong painkillers like oxycodone, fentanyl, and carfentanil.
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Purdue Pharma seemed to have found the Holy Grail in 1995. OxyContin contains only oxycodone in a timed-release formula, available in large dose pills of 40 to 80 mg. Purdue claimed this drug was less addictive because the timed-release mechanism would circumvent the highs and lows of immediate-release pills. (The timedrelease pills could also be dissolved in water and injected, but Purdue suppressed that information from the FDA.) Purdue began an enormous marketing push, while citing a completely erroneous statistic that “less than 1%” of people who use opioid painkillers become addicted. The truth is that OxyContin is very addictive. 6.1 million Americans had abused OxyContin by 2006 — 2.4% of the population. While this alone was an enormous problem, the situation worsened as many people needed to switch to something more potent and less expensive. As opiate painkillers became the most prescribed drug class in the country, the number of opioid overdoses grew into an epidemic.
STOPPING THE CRISIS: WHAT CAN BE DONE? Legal Action Against Big Pharma More than 250 cities, counties, and states in the United States have filed lawsuits against pharmaceutical companies responsible for distributing opioid drugs. One of the most common targets is Purdue Pharma, who deceptively marketed OxyContin as a non-addictive drug. Communities nationwide are suing for funds to solve the problems for which they believe drug companies are responsible. The lawsuit filed by Columbus, Ohio, for example, is seeking reparations for “significant harm and damages, including, but not limited to, the breakdown of families, increased health insurance costs, increased police and fire usage, increased usage of the criminal justice system and other significant harms.” Many have compared these efforts to states’ lawsuits in the 1990s against tobacco companies, which resulted in a $246 billion payout to fight the health issues caused by cigarettes. Currently, Washington State, King County, and the City of Seattle have all filed lawsuits against Purdue Pharma, as have numerous cities and counties across the state.
STAGES OF OPIOID ADDICTION
Opioid use disorder is the medical term for opioid addiction. Doctors have identified three typical stages that a person goes through as their addiction develops.
STAGE 1 A patient becomes addicted to prescription opioids either through legitimate prescription refills or by taking a family member’s unused medications.
STAGE 2 Seattle City Attorney Pete Holmes (left) and Washington Attorney General Bob Ferguson (right) at the press conference announcing their lawsuit. Source: The Seattle Times.
Healthcare Equity Americans with opioid addiction often can’t afford to receive the treatment they need because, unlike many other developed countries, the United States does not guarantee healthcare to its citizens. Even under the Affordable Care Act (Obamacare), more than 28 million Americans are uninsured (about 12.2% of the population). Half of Americans who are insured still have a deductible of at least a thousand dollars — meaning that they must pay $1,000 out of pocket before their health insurance company will pay. And yet, nearly half of all Americans can’t cover a $400 emergency expense without going into debt or selling their possessions. Nearly 90% of Americans who meet the criteria for addiction aren’t getting treatment, and those who do often wait weeks or months before they can see a doctor. Further complicating the issue, health insurance companies have vastly reduced their coverage for the kind of longterm, comprehensive care needed to treat addiction. As it stands, the United States healthcare system is woefully unequipped to deal with the opioid epidemic, because the cost of addiction treatment—even for those with health insurance—is far too high for people who need it most.
The patient moves on to heroin, which is both cheaper and stronger than most prescription opioids. (OxyContin, for example, costs about $1 per milligram, and a day’s intake could cost $80 to $160.)
STAGE 3 Patients switch to fentanyl, or a similar synthetic opioid. Fentanyl is 50 times stronger than heroin. Carfentanil is 5,000 stronger. These drugs in particular carry a very high risk of dying from overdose. They are often mixed or sold as heroin, so users can easily overdose while believing they’re consuming a regular amount. encoremediagroup.com/programs A-7
Number of Deaths Involving Opioids Total Female Male
50,000 40,000
USA
49,068 42,249
30,000 20,000 10,000 0 20
02 0 03 0 04 0 05 0 06 0 07 0 08 0 09 010 011 012 013 014 015 016 017 2 2 2 2 l2 2 2 2 2 2 2 2 2 2 2 a on si i ov Pr Source: National Center for Health Statistics, CDC Wonder
Medicaid Expansion Under the Affordable Care Act, states have the option to expand Medicaid coverage to anyone close enough to the poverty level, with the federal government paying for 90 percent of the costs of the expansion. This is particularly consequential to drug abuse treatment, since Medicaid is already the second biggest payer for drug abuse treatment (after local governments themselves). The Medicaid expansion can provide treatment to millions of uninsured people, as well as incentivize the opening of additional treatment centers in states that opt in. As of the 2018 elections, 14 states have not adopted the Medicaid expansion.
Medication-Assisted Treatment Behavioral therapy is often combined with medication as part of a comprehensive treatment program. MedicationAssisted Treatment (MAT) is one of the strongest evidencebased drug treatments available. The most common drug used in MAT is methadone, which is administered once or twice per day by specialized clinics. Methadone blocks both the painful effects of withdrawal and the euphoric effects created by recreational opioids. Treatment can last years or even lifelong, but the drug allows people to live a much more stable life outside of their addiction. MAT is often hard for patients to access in the United States. There are fewer clinics in the US than in much of the developed
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world, and many of those that do exist are lower-quality, for-profit facilities. These methadone clinics are less likely than nonprofit clinics to offer counseling and other services, and more likely to charge patients many times more than the value of the drug, ultimately diminishing the value of what should be a very effective treatment.
Needle Exchange Programs Needle exchange programs provide uncontaminated needles for intravenous drug users and accept their contaminated needles for proper disposal. Many facilities will also provide drug treatment referrals, education, and counseling. While these programs don’t address the root causes of the opioid epidemic, they can help lessen the risk of infection of bloodborne diseases like HIV and hepatitis C by discouraging needle sharing among drug users. The Center for Disease Control and Prevention has found that needle exchanges do not increase drug use or crime, and that the people served are five times likelier to enter addiction treatment.
Supervised Injection Sites Supervised injection sites are another kind of service in which people can use illicit drugs under the supervision of trained staff, who can respond to an overdose. There are about 100 such sites operating worldwide in places including Europe, Canada, and Australia. According to NPR, “A 2014 review of 75 studies concluded such places promote safer injection conditions, reduce overdoses, and increase access to health services. Supervised injection sites were associated with less outdoor drug use, and they did not appear to have any negative impacts on crime or drug use.” There are no supervised injection sites in the United States. In recent years, Seattle and King County have considered opening the first safe injection site in the country, along with about a dozen other cities nationwide. However, in 2018, the Trump administration has threatened that the federal government will take “swift and aggressive action” if cities decide to open these facilities, because allowing people to use drugs openly would violate federal drug laws. Nevertheless, Seattle leaders still hope to open a safe injection site in 2019 as a mobile facility.
Anti-Overdose Drugs Naloxone, a medication commonly sold under the brand name Narcan, is a highly effective nasal spray that reverses an opioid overdose in progress. In 2018, the United States surgeon general released an advisory promoting naloxone as an important tool that can reduce opioid-related deaths nationwide.
FURTHER READING All titles available through Seattle Public Library
ON THE OPIOID EPIDEMIC Dreamland: The True Tale of America’s Opiate Epidemic by Sam Quinones Dopesick: Dealers, Doctors, and the Drug Company that Addicted America by Beth Macy
ON DRUGS AND POLICY The American Disease: Origins of Narcotic Control by David F. Musto The New Jim Crow: Mass Incarceration in the Age of Colorblindness by Michelle Alexander
SEATTLE Everybody Loves Our Town: An Oral History of Grunge by Mark Yarm Outcasts and Innocents: Photographs of the Pacific Northwest by Alice Wheeler
FICTION A Hero Ain’t Nothin’ But a Sandwich by Alice Childress Marlena by Julie Buntin Junky by William S. Burroughs Cherry by Nico Walker
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MEET THE MEET THE
CAST
Jesica Avellone Mom/CJ/Sasha/ Ensemble
Jesica Avellone is so glad to be back at Book-It, where she last performed in The Maltese Falcon. She’s an actor, teaching artist, and voiceover actor in Seattle, where she has also performed with Seattle Shakespeare Company/Wooden O, Seattle Public Theater, Washington Ensemble Theatre, and The Fern Shakespeare Company. She is a co-founder of the arts education initiative Creative Resilience and received her BFA from Boston University. Home is where Colin and the girls are. jesicaavellone.com
Ian Bond
Tom Hansen Ian Bond is honored to bring Tom Hansen’s story to Book-It audiences. Previous Book-It credits include Jane Eyre, The Picture of Dorian Gray, Treasure Island, and Frankenstein; Or, The Modern Prometheus. Ian has also performed locally with ACT, Seattle Public Theater, Taproot Theatre Company, Seattle Shakespeare Company, Washington Ensemble Theatre, The Horse in Motion, Sound Theatre Company, Forward Flux Productions, Live Girls! Theater, Seattle Immersive Theatre, and eSe Teatro. Regionally, he has performed with Mt. Baker Theatre, Coeur d’Alene Summer Theatre, KNOW Theatre Cincinnati, Cincinnati Opera, and Actor’s Theatre Charlotte. Ian is a former resident ensemble member of the Cincinnati Shakespeare Company.
Hazel Rose Gibson
Gisele/Gretchen/ Ensemble Hazel Rose Gibson is honored to make her debut at Book-It with this talented cast, crew, and director! A transplant from Colorado, she has been living in Seattle since August 2015, pursuing a career in theatre arts as an actress and stage manager. Previous acting credits in Washington include Wong/Ensemble in The Good Woman of Setzuan (ACT/ACTLab); Rebel, Jawa, and Dodonna in A New Hope in the Park (Hello Earth Productions); A-10 BOOK-IT REPERTORY THEATRE
Clara in Sister of the Dark Heart (Drawn in Eugene, OR); Rose/Ensemble in A Civil War Christmas (Taproot Theatre Company); and Lorraine/Cindy in Hairspray (Twelfth Night Productions). Much love to family, friends, and my ever-supportive boyfriend, Chris. www.hazelrosegibson.com
Tim Gouran
Cody/Psychiatrist/ Timmy/Ensemble Tim is so glad to be back at Book-It where he was last seen just a few months ago in My Ántonia. He has performed with many Seattle theatres including Seattle Repertory Theatre, ACT, Intiman Theatre, Seattle Children’s Theatre, New City Theater, Washington Ensemble Theatre, Strawberry Theatre Workshop, Theatre22, and Azeotrope. He got his start with The Guthrie Theater in Minneapolis. He has appeared in several movies and TV episodes, as well as many voice overs for radio and video games. For Jer.
Brian Gunter** Dad/Sverre/Johnny/ Ensemble
Brian is making his third appearance with BookIt, having performed in the ensembles of Truth Like the Sun and I Am of Ireland in the 2013 and 2014 seasons. A proud member of Actors Equity Association for 28 years, he has worked in regional theatre throughout the United States. He has also performed in Europe with Vienna’s English Theatre, touring in Austria, Italy, and the Czech Republic.
Marco Adiak Voli
Scotty/Greg/Ensemble Marco is absolutely thrilled to be working with Book-It, Jane, and this team on American Junkie. He is a Nicaraguan-American actor based in the Seattle area. Recent credits include FADE (Seattle Public Theater); Ada’s Violin (Book-It Arts & Education); How I Learned to Drive (Strawberry Theatre Workshop); educational tours of Romeo and Juliet and a bilingual adaptation of Twelfth Night (Seattle Shakespeare Company); and Mud/Barro (eSe Teatro). Marco is a graduate of Cornish College of the Arts’ Original Work program. He would like to thank his partner, Hannah, for all the laughs, love, and support. Adelante!
ARTISTIC TEAM Jane Jones*
Adapter/Director/Founder, Founding Co-Artistic Director Jane is the founder and founding coartistic director of Book-It Repertory Theatre, with Myra Platt. In her 30 years of staging literature, she has performed, adapted, and directed works by such literary giants as Charles Dickens, Eudora Welty, Edith Wharton, Kurt Vonnegut Jr., Pam Houston, Raymond Carver, Frank O’Connor, Jim Lynch, Ernest Hemingway, Colette, Amy Bloom, John Irving, John Steinbeck, Daphne du Maurier, and Jane Austen. A veteran actress of 35 years, she has played leading roles in many of America’s most prominent regional theatres. She co-directed, with Tom Hulce, at Seattle Repertory Theatre, Peter Parnell’s adaptation of John Irving’s The Cider House Rules, Parts I and II, which enjoyed successful runs in Seattle, at the Mark Taper Forum in Los Angeles (Ovation Award, best director), and in New York (Drama Desk Nomination, best director). Jane’s most recent directing credits include Native Gardens at Arizona Theatre Company. With Portland Center Stage, she directed Cyrano, Twelfth Night (Drammy awards, Best Direction and Production) and Book-It’s adaptations of Great Expectations and Pride and Prejudice. For Book-It, her credits include The Maltese Falcon, A Moveable Feast, What We Talk About When We Talk About Love, The Dog of the South, Adventures of Huckleberry Finn: Uncensored, Truth Like the Sun, The House of Mirth, The Highest Tide, Travels with Charley, Pride and Prejudice, Howard’s End, In a Shallow Grave, The Awakening, Owen Meany’s Christmas Pageant, A Tale of Two Cities, and The Cider House Rules, Parts I and II, winner of the 2010 and 2011 Gregory Awards for Outstanding Production. In 2008, she, Myra Platt, and Book-It were honored to be named by The Seattle Times among seven Unsung Heroes and Uncommon Genius for their 20-year contribution to life in the Puget Sound region. She is a recipient of the 2009 Women’s University Club of Seattle Brava Award, a 2010 Women of Influence award from Puget Sound Business Journal, and the Paul G. Allen Family Foundation’s 20th Anniversary Founders Grant, and she was a finalist for the American Union for Stage Directors and Choreographers Foundation’s 2012 Zelda Fichandler Award.
SpeciaL Thanks Seattle Center Stepan Simek Susanna Burney Theatre Puget Sound Washington Ensemble Theatre
Kevin McKeon Co-Adapter Kevin McKeon has adapted several literary works for Book-It, including Anne Tyler’s Breathing Lessons, Dinaw Mengestu’s The Beautiful Things that Heaven Bears, and Dickens’ A Tale of Two Cities (with Jane Jones). His adaptation of David Guterson’s Snow Falling on Cedars has been performed at many theaters across the country including Hartford Stage, Centerstage Baltimore, and Portland Center Stage. His adaptation of Tolstoy’s Anna Karenina was commissioned by Portland Center Stage and premiered there in 2013. It is currently playing at the Denver Center for the Performing Arts. He is the author of Strutting and Fretting, a novel about the acting game.
Jen Taylor
Assistant Director
AFFILIATIONS
Actors Equity Association
Jen has worked with Book-It as an actor on A Moveable Feast, Truth Like the Sun, The House of Mirth, Giant, and Pride and Prejudice. She adapted Persuasion and Sense and Sensibility for the company. This is her first time assistant directing. Thank you, Jane Jones!
Catherine Cornell
This theater operates under an agreement within AEA, the union of professional actors and stage managers in the United States. Actors Equity Association (AEA) founded in 1913, represents more than 49,000 actors and stage managers in the United States.
Theatre Puget Sound
Theatre Communications Group
Scenic Designer
A selection of Catherine’s local designs include Mac Beth, Buyer and Cellar (Seattle Repertory Theatre); The Brief Wondrous Life of Oscar Wao, A Tale for the Time Being, Slaughterhouse-Five, Truth Like the Sun, and the Arts and Education Program (Book-It); The Liar (Seattle Public Theater); Les Misérables, Crazy For You (Village Theatre KIDSTAGE); Frost/Nixon (Strawberry Theatre Workshop); Bright Half Life (New Century Theatre Company); Master Harold… and the boys (West of Lenin); Into the Woods (STAGEright); Big Fish (Bainbridge Performing Arts); and many more. Work beyond Seattle includes Harvey (University of Virginia’s Heritage Theatre Festival); Cloud Nine (University of Michigan); and Walt Disney’s Oz: The Great and Powerful (scenic artist). www.catcornell.com
Tristan Roberson+
Lighting and Projections Designer
+United Scenic Artists, Local USA 829 of the IATSE is the union representing Lighting and Sound designers in this Live Performance.
Tristan Roberson is a theatrical designer based in Seattle. Recent designs include Crack in the Noise (The Three Yells); B, Everything You Touch, The Nether, and Teh Internet is Serious Business (Washington Ensemble Theatre); Jane Eyre the Musical (ArtsWest); Arms and the Man (Seattle Shakespeare Company); and Awaiting Oblivion (On the Boards). He received a Gregory Award for Outstanding Lighting
Design for Teh Internet is Serious Business. Tristan is adjunct faculty at Cornish College of the Arts, resident lighting designer at Washington Ensemble Theatre, and a member of United Scenic Artists IATSE local #829.
Kelly McDonald Costume Designer
Kelly McDonald is a Seattle-based costume designer, and this is her second show at Book-It. Previous designs around town have been seen with ArtsWest, Café Nordo, Cornish College of the Arts, Intiman Theatre, Seattle Public Theater, Seattle Shakespeare Company, Taproot Theatre Company, and Village Theatre.
Kyle Thompson Sound Designer
Kyle is very excited to be working with Book-It again, where his designs were last heard in Jane Eyre, The Brief Wondrous Life of Oscar Wao, and Treasure Island. Since 2010, he has designed over 45 productions in the Seattle area, including The Merry Wives of Windsor, Love’s Labour’s Lost (Wooden O/Seattle Shakespeare Company); The Happiest Song Plays Last, Annapurna, Water By The Spoonful (Theatre22); Mothers and Sons, 4,000 Miles (ArtsWest); The Wedding Gift (Forward Flux Productions); Oedipus el Rey (eSe Teatro/ACTLab); Undo, The Underneath, Kittens in a Cage (Annex Theatre). Kyle holds a BA in Drama from the University of Washington, and he is currently in his third season working as a lead sound engineer at Seattle Children’s Theatre.
Cedric Wright
Properties Designer Cedric has been a display queen for most of his life and has been making a living doing it for a decade. Some of his recent projects include I Know Why the Caged Bird Sings, Welcome to Braggsville, Treasure Island, and A Tale for the Time Being (Book-It); Les Misérables, The Lion King Jr., Freaky Friday, and James and the Giant Peach Jr. (Village Theatre KIDSTAGE); Teh Internet is Serious Business, Every Five Minutes (Washington Ensemble Theatre); and Pageant the Musical (A Sensible Theatre Company.) Check out more at cedricwright.com.
Bryce Bartl-Geller
Assistant Projections Design Bryce Bartl-Geller is a Seattle-based lighting and projections designer and a member of The Horse in Motion. He is excited to work on this timely story. Select credits include Brandi Alexander encoremediagroup.com/programs A-11
Meet The Artistic Team (cont)
(Tatiana Pavela); Men on Boats (Cornish College of the Arts); The Fig Tree Waltzes (Acrobatic Conundrum); Force Continuum, The Inexplicable Redemption of Agent G (UW School of Drama); Spring Awakening, Cabaret, and Electra (UW Undergraduate Theater Society); and How to Succeed in Business (The 5th Ave Theatre, 2nd assistant). Bryce studied lighting design at the University of Washington where he received the Shelley & Phil Schermer Endowment Scholarship. He also works as a scientist in a LiDAR lab researching forest resilience to wildfire. Upcoming projects include Jitterbug Perfume (Café Nordo, associate) and Feathers and Teeth (Washington Ensemble Theatre). www.bartl-geller.com
Jeremiah Givers** Stage Manager
Jeremiah Givers is pleased to be returning to Book-It. Previous shows with Book-It include Welcome to Braggsville, A Tale for the Time Being, and The Brothers K. He has also worked with Seattle Shakespeare Company (Arms and the Man, Julius Caesar), Freehold’s Engaged Theatre Project (Henry IV, King Lear), and with Thalia’s Umbrella (The Impossibility of Now, When Love Speaks). A proud graduate of Cornish College of the Arts in Performance Production, he also was a stage management intern at both the Shakespeare Theatre of New Jersey and Seattle Repertory Theatre.
Caitlin Denney-Turner Assistant Stage Manager
This is Caitlin’s first time working with Book-It, and she couldn’t be more excited. She has worked around Seattle with such companies as Taproot Theatre Company (Miss Bennet: Christmas at Pemberley), Village Theatre (Hairspray, The Gin Game, and Newsies), and Seattle Shakespeare Company (Titus Andronicus, Love’s Labour’s Lost, and Pericles). She started her career in Seattle as a stage management intern at Seattle Repertory Theatre and worked on shows such as All The Way, The Great Society, and Lizard Boy. She has also worked regionally and was the production stage manager and company manager for Wagon Wheel Center for the Arts in Warsaw, Indiana.
Ian Stewart Dramaturg
Ian is a director, writer, and dramaturg. This is his fourth project with Book-It, having previously been the dramaturg for The Picture of Dorian Gray, The Brothers K, and What We Talk About When We Talk About Love. Directing credits include In Short Order (Monomyth); New Works A-12 BOOK-IT REPERTORY THEATRE
Festival: Family (Fantastic.Z Theatre), Wait Until Dark (Edmonds Driftwood Players), disappearer (Oregon Contemporary Theatre). Ian was the assistant director of The Brothers K (Book-It). He would like to thank Nathan, Lily, and Charlie for their constant support.
Kristin L. Schoenback Directing Intern
Kristin L. Schoenback is a stage director and founder of Cats Cradle Theatre in Chicago. She has directed such works as Ellen McLaughlin’s Oedipus; Mr. Burns, a post-electric play; and The Curious Incident of the Dog in the Night-Time. She has worked intimately with Illinois Shakespeare Festival, where she has assisted on several productions, in addition to conceiving the programming for educational outreach. She teaches, adapts, and directs for their Youth Artist Camp and touring company – taking Shakespeare to schools, community centers, and local prisons. She is finishing her MFA in the professional director training program at Illinois State University. She holds a BA degree in Theatre from Concordia University in Chicago and is an associate member of the Stage Directors and Choreographers Union.
Myra Platt
Founding Co-Artistic Director As the founding co-artistic director with Jane Jones, Myra has helped produce over 85 world-premiere mainstage productions and over 30 education touring productions. Most recently she directed and adapted the new musical Howl’s Moving Castle. Previously, she adapted and directed The Brothers K and directed The Amazing Adventures of Kavalier & Clay (2014 Gregory Award for Outstanding Production, The Seattle Times Footlight Award). She was nominated for Outstanding Director 2012 (Financial Lives of the Poets) and 2014 (Kavalier & Clay). Other directing credits include Little Bee; The Financial Lives of the Poets; The River Why; Persuasion; Night Flight; Red Ranger Came Calling; The House of the Spirits; Plainsong; Cry, the Beloved Country; Sweet Thursday; Giant; I Know Why the Caged Bird Sings; Cowboys Are My Weakness; Roman Fever; and A Child’s Christmas in Wales. Adapting credits include I Know Why the Caged Bird Sings, Little Bee, The Financial Lives of the Poets, The River Why, Night Flight, The Art of Racing in the Rain, Red Ranger Came Calling, The House of the Spirits, Giant, Cowboys Are My Weakness, Roman Fever, A Child’s Christmas in Wales, and co-adapted Owen Meany’s Christmas Pageant with Jane Jones. Composing credits include Prairie Nocturne, Night
Flight (with Joshua Kohl), Red Ranger Came Calling: A Musical (with Edd Key), The Awakening, Ethan Frome, Owen Meany’s Christmas Pageant, A Child’s Christmas in Wales, and I Am of Ireland. Acting credits include Seattle Repertory Theatre, Intiman Theatre, New City Theatre, the Mark Taper Forum, Prairie Nocturne, The Beautiful Things That Heaven Bears, The Awakening (West Los Angeles Garland Award), and Howards End. She originated the role of Candy Kendall in The Cider House Rules, Parts I and II, directed by Jane Jones and Tom Hulce. Myra is the recipient, with Jane Jones, of a Paul G. Allen Family Foundation Anniversary grant, the 2010 Women of Influence from Puget Sound Business Journal, and she was named by The Seattle Times a 2008 Unsung Hero and Uncommon Genius for their 20-year contribution to life in the Puget Sound region.
Kayti Barnett-O’Brien Managing Director
Kayti has been with Book-It since 2015, first serving as general manager (2015-2017) and managing director (2017-present). She looks forward to ushering Book-It into its next chapter through new strategic planning and equity initiatives. Kayti was previously the managing director at New Century Theatre Company and a former board member for Theatre Puget Sound. Kayti is a member of the Leadership for Social Change cohort with artEquity and holds an MFA in Arts Leadership from Seattle University.
Josh Aaseng
Associate Artistic Director Josh joined Book-It in 2010, as the education associate, then served as literary manager for five years. Book-It credits include directing and co-adapting (with Daemond Arrindell) Welcome to Braggsville; directing and adapting Slaughterhouse-Five; and directing Jesus’ Son and Where the Mountain Meets the Moon. As a consulting director on Frank Boyd’s The Holler Sessions, he has worked at On the Boards and ACT in Seattle, the Noorderzon Performing Arts Festival in the Netherlands, PS 122 COIL Festival in New York, and the Guthrie Theater. Josh’s work has been recognized with two Seattle Times Footlight Awards, as well as Seattle Theater Writers Critics’ Circle awards for excellence in playwriting and direction. Josh is a member of the Lincoln Center Theater Directors Lab and a graduate of New York University’s Tisch School of the Arts. * The director is a member of the Stage Directors and Choreographers Society, a national theatrical labor union. **Actors Equity Association
BOOK-IT
DONORS
This list reflects gifts received January 1, 2018 – December 31, 2018.
ADVOCATES CIRCLE - $100,000+ Sage Foundation
LITERARY LEGENDS CIRCLE - $50,000+ Gretl Galgon Mary Pigott True-Brown Foundation Kris & Mike Villiott
LITERARY CHAMPIONS CIRCLE - $25,000+
BECOME A PRODUCER You can bring a book to our stage! By becoming a Producer, you will earn special recognition and exclusive access to the production process of a mainstage show. Learn more by contacting us at development@book-it.org.
ArtsFund Holly & Bill Marklyn Shirley & Dave Urdal
LITERARY HEROES CIRCLE - $10,000+ 4Culture Bill & Melinda Gates Foundation The Boeing Company Sonya & Tom Campion The Elizabeth George Foundation Harvest Foundation Lucy Helm Stellman Keehnel Margaret Kineke & Dennis West Lucky Seven Foundation The Morgan Fund National Endowment for the Arts Nesholm Family Foundation The Norcliffe Foundation Michell & Larry Pihl Safeco Insurance Fund Seattle Office of Arts & Culture The Shubert Foundation
PARTNERS CIRCLE - $5,000+ John Aldaya & Tom DeFelice Amy & Matthew Cockburn Laura & Greg Colman Jane & Bob Cremin D.A. Davidson & Co. Sara Elward Anne Fisher Ravens Stuart Frank & Marty Hoiness Clay Gustaves Hazel Miller Foundation Nancy Lomneth & Mark Boyd Ellen Maxson Nordstrom Ann Ramsay-Jenkins Shirley Roberson Polly Schlitz Seattle P-I U.S. Bank Foundation Christina Wright & Luther Black Wyman Youth Trust
LEADERSHIP CIRCLE - $2,500+ Adobe Matching Gifts Program Monica Alquist Patricia Britton Diana Carey Laura Carr & Jeremy Derfner Caroline L. Feiss & Gordon B. Davidson Elizabeth & Paul Fleming Jane Jones & Kevin McKeon Peter & Kelly Maunsell Moccasin Lake Foundation Lynne & Nick Reynolds Steve Schwartzman & Daniel Karches Charyl Kay & Earl Sedlik Nancy & Warren Smith Colleen & Brad Stangeland Drella & Garth Stein Christine & Josh Stepherson Lordia & Jeremy Williams Williams Companies Margaret Winsor & Jay Hereford
NOBEL PRIZE CIRCLE - $1,000+ Anonymous (2) Emily Anthony & David Maymudes Cinnimin Avena Patti Baker Salli & Stephen Bauer Lenore & Dick Bensinger Judy Brandon & H. Randall Webb Don & Karen Brown Karen & Tom Challinor Children Count Foundation Donna Cochener Deborah Cowley & Mark Dexter Nora & Allan Davis Dottie Delaney Laura & Bo Ford Caroline Fox Jayn & Hugh Foy Spencer Freeman Tina D. Ganguly & Tim Whitwell Earl B. Gilmore Foundation Jean Gorecki & Dick Dobyns Craig & Darcy Greene Margaret Griffiths Jeffrey Gural
Lenore Hanauer Foundation Laura & Erik Hanson Delney & Gil Hilen Mary Frances Hill Joleen & Gareth Hughes Judith Jesiolowski & David Thompson Portia D. Jones & Jonathan Hibbs Jamie & Jeremy Joseph Jeffrey Kadet & Helen Goh Tami & Rob Kowal Alan Kristal & Jason Lamb Dan Kuhn Lagunitas Brewing Company Jonathan Lawrence Leslie Fund, Inc. Melissa & Don Manning Donna Marie & Rob Saunders Claire Marshall & Joseph Bakke Anne McDuffie & Tim Wood D.V. & Ida McEachern Charitable Trust Mary Metastasio Margaret Meyer Shyla Miller & Russ Young Marcia Nagae Whitney & Jerry Neufeld-Kaiser Christiane Pein & Steve Bull Myra Platt & Dave Ellis Point B Kate & Stephen Robinson Evelyne Rozner & Matt Griffin Gail & John Sehlhorst SEI Giving Fund Martha Sidlo Laura Skelton & Thomas Buford Nancy Lee Smith Janice & Pat Strand Gail Tanaka Jennifer Teunon & Adam Smith C. Rhea & Wendy Thompson Katherine & James Tune Elizabeth Warman Judith Whetzel Carol & Bryan Willison
PULITZER PRIZE CIRCLE - $500+ Anonymous (2) • Virginia L. Anderson • Donna & Anthony Barnett • Jessica Foss & Clint Berquist • Bill & Melinda Gates Foundation Matching Gifts Program • Lindsay & Tony Blackner • Karen Brandvick-Baker & Ross Baker • Mary Anne Braund & Steve Pellegrin • Alice Braverman & Patrick Kafer • Sally Snyder Brunette • Bryan Burch • Linda & Peter Capell • Emily Cartmell & Quazie Kwaselow • Sylvia & Craig Chambers • Carol & Bill Collins • Beth Cooper & Dan Schuy • Robin Dearling & Gary Ackerman • Lynn Dissinger • Julie Edsforth & Jabe Blumenthal • Jeremy Eknoian • Polly & Eric Feigl • Shannon & Graham Gardner • R. Brooks Gekler • John Giaever • Michelle & Mark Hamburg • Kathryn Hazzard • Barbara Hieronymus • Robert Hovden & Ron DeChene • Elizabeth Hubbard • Melissa Huther & Gordon Hof •
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Russell Janney • Mary Klubben & Brian Hahn • Mr. & Mrs. Gareld John Kneepkens • Joyce Anne Latino & John O’Connell • Darcy & Lee MacLaren • Ann McKee & Dale Hoff • Medina Foundation • Jacque Mesplay • Microsoft Matching Gifts Program • Richard Monroe • Christopher Mumaw • Sherry & Bob Nebel • Grace Nordhoff & Jonathan Beard • Glenna Olson & Conrad Wouters • Christy & George Papadakis • Deborah & Jeff Parsons • Cecilia Paul & Harry Reinert • Sherry Perrault & Michael Harding • Eleanor & Charles Pollnow • Barb & Dan Radin • Monica Ramsey • Shawn & Mike Rediger • Paula Riggert • Jo Ann & Jim Roberts • Jain Rutherford • Mig Schaaf & Stuart Dunwoody • Lee Scheingold • Joana & Michael Shapiro • Will Stachowiak • Jon Staenberg • Linda & Hugh Straley • Knud Stubkjaer • Andrea Suarez • Deborah Swets • Sara Thompson & Richard Gelinas • Tanya Trejo & Keane Watterson • Karen & Ron Van Genderen • Ruth & Jerry Verhoff • Leora & Robert Wheeler • Paula & Bill Whitham • Merrily Wyman
NATIONAL BOOK AWARD CIRCLE - $250+ Anonymous (6) • Gail Anderson • Lisbet Nilson & Mark Ashida • Heather & Mark Barbieri • Tanya Bednarski & Greg Johnson • Diane Bisset • Shari Bitcon • Nancy L. Bittner • Jen Blackwood • Erin Brindley • Joann Byrd • Christine Caldwell & Michael Richardson • Amy Carter • Sally & Curt Clausen • Pamela Cowan & Steve Miller • Sandy & Paul Dehmer • Elizabeth Dennis • Jennifer Diggdon • Anne & Don Downing • Dropbox, Inc. • Beth L. Dubey • Lynne & Hollie Ellis • Marilyn Endriss • Evergreen Cares Foundation • Laura Finn • Liz Fitzhugh & Jim Feldman • Siobhan Ginnane & Dan Whelan • Carla Granat & Stephen Smith • Pat Graves & David Nash • Victoria Griffith • Diane Grover • Lisa Hanna • Phyllis Hatfield • Margy Heldring • Karyn Henry • Lauren Hill • Ann Hollar & Steve Orser • Trish & Doug Honig • Winifred Hussey • Barbara & Rob Jirsa • Catherine & Dave Johnson • Angie & Tom Johnson • Hillary & Martin Kelly • Debbie Killinger • Karen L. Koon • Kristen Laine & Jim Collins • Meredith Lehr & William Severson • Jeff & Kathy Lindenbaum • Arni H. Litt • Thomas Markl • Paul Martini • Elaine Mathies • Ruth McCormick • Sage McCotter • Susan & Bob Mecklenburg • Tami & Joe Micheletti • General Mills • Rene & Chuck Murry • Jaime Neal • Elaine Nonneman • Karen O’Connor • Cheryl & Tom Oliver • Mona & Kurt Owen • Cheryl Papadakis • Lara Papadakis & Tobin Weldele • Corliss Perdaems & Carl Kassebaum • Shannon Phillips &Tarik Burney • Terry Podgorski • Miriam Prathiba • Audrey Querns • Benjamin Radin • Karen Robins • Nancy Rutstein • Jamie Scatena • Paul Schiavo • Janet Schorr • Rachel Shea • Virginia Sly • Diane Stark • Mary Anne Stusser Martin & Charles Martin • Liann & Stephen Sundquist • Christina Surawicz & James Bushyhead • Megan Sutherland • Robin Thomas • Ginny Trethewey • Penni & Joe Vogel • Susan Ward • Audrey Watson • Kayla Weiner • Gregory Wetzel • Jean & David White • Melinda Williams • Diane Wong & Nelson Dong • Ann Young • Shari & Kerry Thompson A-14 BOOK-IT REPERTORY THEATRE
GIFTS IN HONOR & MEMORY In honor of Emily Davis Stephanie M. Hilbert In honor of Wendy Hilliker Carol & William Roach In celebration of Qamar Schuyler Kinza & Philip Schuyler In honor of Earl & Charyl Kay Sedlik Nancy L. Bittner In memory of Dan & Dave Snyder Anonymous
PEN/FAULKNER AWARD CIRCLE - $100+ Anonymous (12) • Doug Adams & Scott Fitzgerald • Judith Alexander • Robert Atkinson • Brian Atwater • Shawn Auld • Anne & Roger Baker • Judy Barbour • Jo Ann & Tom Bardeen • Chris Barnett-O’Brien • Susan Bean & Ray Walton • Claire Beighle • Chris & Tessa Bennion • Julia Bent • Philip L. Bereano • Hugh & Rebecca Bergeson • Julie Bernstein • Inez Noble Black • Beth Blosten • G. Randall Bond • Bonnie & Webb Bowie • John Bradshaw • Philip Brazil • Bridge Partners LLC • Becky Brooks & Jeff Youngstrom • Adelaide Brooks & Robert Pennell • Kim Brotherton • Patricia Brunetto • Carrie Bryant • Alice & Stan Burgess • Kristina Huus Campbell • Zimmie Caner & Tom Edwards • Karen Carlson • P. Caswell • Gerry & Kristy Champagne • José Clair • Catherine Clemens • Richard O. Coar • John Coburn • The Coca-Cola Company • Serena Cosgrove • Kate & Elliot Curtis • Roy & Raye Davis • Melinda Deane & Danny Wheetman • Allison Dennin • Kathy Dickeman • Ron Michael Dohr • Carol & Kelly Dole • Mary Dombrowski • Marcia Donovan • Donna Dughi • Susan M. Dyer • Karen Eames • Laura Ellis • Tami Erhart • Linda & Terry Finn • Judi & Steve Finney • K. Denice Fischer-Fortier & James M. Fortier • David Fisher • Patricia & Richard Fiske • Ben Fitch • Gayle Fitzgerald & Peter Dixon • Carolyn & Robert Fletcher • Corinne Fligner & Mark Wener • Gyda & Randi Fossland • Eric Frank • Kai Fujita • Dot Fuller • Rachel & Chris Fyall • Jean & Mike Gannon • Julia G. Geier • Clarence R. Gillett • Dick & Faye Gillett • Jack & Vicki Goldstein Seznick • Birgit Grimlund & Robin Reiels • Linda Haas • Judith Hamilton • John Hardtla & Evin Cramer • Derek Harris • Karen Hartman & Todd London • Molly Hasson & Mark Pessl • Lloyd Herman & Richard Wilson • Diana Hice • Pat Highet • Stephanie M. Hilbert • Jean Hilde & Hunter Fulghum • Colleen Hinton • Carol & John Hoerster • Kate Hokanson • Peggy Holland • Margaret Hooks • Dorothy Hopper • Sarah Horrigan • Cheryl Hubbell • Cynthia Huffman & Ray Heacox • Ingrid Ingerson • Pam & Zacko Ivezic • Wendy Jackson • Lisa Jaret • Marcia H. Johnson • Susan Jones • Kris Jorgensen & Margey Rubado • Angie Kamel • Tom Keener • Pam Kendrick • Erin
& Steve Kennebeck • Sally Kentch • Eileen Kirkpatrick & Noel Howes • Michael Klein • Monique Kleinhans & Bob Blazek • Linda Korbus & Gregory Flood • Allison Kramer • Marsha Kremen & Jilly Eddy • Kikue I. Kubota • Jen Kulik • Akshay Kulkarni • Damon LaPoint • Cheri Leavitt • Diane Lefkow • Audrey Lew & John Tilden • Larry Lewin • Linda Lewis • Bonnie Lewman • Martha Lloyd & Jim Evans • Brock & Karin Loen • Craig Lorch • Valerie Lynch & Putnam Barber • Mary Frances Lyons • Maureen Malley & Jeffrey Capeloto • Malling Family • Donald Marcy • Serge Martinez • Elizabeth Mathewson • E.R.M. Maunz • Susan McCloskey • Rachel McCracken • Paul & Anna McKee • Katie McKellar • Medtronic Foundation • Glen Miller • Ellen & Mark Mills • Marion & George Mohler • Cornelia & Terry Moore • Dave J. Morrison • Elizabeth Morrison & Geoff Crooks • Ken & Nan Munsey • Elisabeth Murata • Sharon L. Nelson • Susan Nivert & Barbara Glenn • Northwest Literacy Foundation • Therese Ogle • Martha Oman • Pam & Tim O’Sullivan • Carla Patterson • Julie Paul • Leona Pazina • Karen Perry • Carolita C Phillips • Alessandra Pollock • Sara Porkalob • Susan Porterfield • Kerry Quint • Laurie Radheshwar • Barbara & Joseph Rait • Roberta Reaber & Leo Butzel • Esther M. Reese • Nancy Reichley • Priscilla Rice • Karen & Eric Richter • Maren Richter • Carol & William Roach • Therese Roberson • William Rothberg • Debby & Dave Rutherford • Deborah Rutherford • Donna Sand • Bernadette Scheller • Julie & Jeff Schoenfeld • Kinza & Philip Schuyler • Marcia & Peter Sill • Goldie Silverman • Eileen D. Simmons & Roger A. Berger • Marilyn Sloan • Vicki & Craig Sosey • Barbara Spear • Benita & Charles Staadecker • Patty Starkovich & Greg Allen • Jane Stevens & Jerry Zimmerman • Julie Stohlman • Paula Stokes & John Sullivan • Ricka Stork • Margaret Swain & Larry Stark • Jen Taylor • Anne Terry • Carly Thaler • Barry Thomas • Richard Thorvilson & Phill Mroz • Jennifer Tice • Eugene Usui • Marcia Utela • Elizabeth Valentine • Ruth Valine & Ed McNerney • Alyson van der Toorn • John VanGilder • Minh Vo • Jorie Wackerman • Stephany Watson • Suzanne & Brent Weaver • Jennifer Weis • Julie Weisbach • Joella Werlin • Tim West • Eddie Westerman & Adam Westerman • Sara White & Robert Jordan • Hope & Ken Wiljanen • Mary Williamson • Rob Williamson • Michael M. Winters • Paula Wittmann & David Downing Book-It makes every attempt to be accurate with our acknowledgments. Please contact Annual Fund Manager Ian Stewart at ians@book-it.org or 206.428.6202 with any changes or corrections.
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Book-It Repertory Theatre is a nonprofit organization dedicated to transforming great literature into great theatre through simple and sensitive production and to inspiring its audiences to read.
BOARD OF DIRECTORS
BOOK-IT STAFF Jane Jones Founder & Founding Co-Artistic Director
Myra Platt Founding Co-Artistic Director
Kayti Barnett-O’Brien Managing Director
ARTISTIC
DEVELOPMENT
ADMINISTRATIVE
Josh Aaseng Associate Artistic Director
Sally Brunette Director of Development
Charlotte Moss Bookkeeper
Shawna Grajek Casting Associate
Ian Stewart Annual Fund Manager
Tom Wahl IT Support
EDUCATION
Annika Bennett Development Assistant
PRODUCTION
PATRON SERVICES
Dan Schuy Production Manager
Annie DiMartino Director of Education J. Woody Lotts Tour Manager
Sasha Bailey Patron Services Manager
MARKETING & COMMUNICATIONS
Aly Guzmán-Dyrseth Box Office Sales & Data Specialist
Torrie McDonald Director of Marketing Val Brunetto Communications Manager
Michael Ryan Blackwood, Madeleine Levy, Jasmine Lomax, Caroline Rensel, Thalia Shelver, Catherine Blake Smith, Dylan Zucati Front of House
OFFICERS Stuart Frank, President
Casting Manager, Entertainment, Holland American
Shawna Grajek Assistant Production Manager Ben Radin Technical Director Jocelyne Fowler Costume Shop Manager Shelby Choo Master Carpenter Jessica Christensen Scenic Charge Artist/ Properties Master
Margaret Kineke, Vice President
Sr. VP, Financial Consultant, Davidson Co.
Linda Brown, Secretary Community Volunteer
Earl Sedlik, Treasurer Educator and Supporter
BOARD MEMBERS John Aldaya Chief Financial Officer, Carrix
Mark Boyd Community Volunteer
José Clair Supply Chain Analyst, The Boeing Company
Laura Colman
Healthcare & Human Resources Executive, Retired
Tina Ganguly
Community Volunteer
Clay Gustaves
Senior Land Rep, Williams Companies
Jane Jones
Founder & Founding Co-Artistic Director, Book-It Repertory Theatre
Mary Metastasio
Senior Portfolio Manager, Safeco, Retired
Christopher Mumaw
Scenic and Experiential Designer
Myra Platt Founding Co-Artistic Director, Book-It Repertory Theatre
CONTACT US
Anne Fisher Ravens
Senior Associate, Point B
Book-It is a vibrant literature-based theatre company that transforms great works of classic and contemporary literature into fully staged works for audiences young and old — more than 130 world-premiere adaptations and counting. Book-It’s combined programs ignite the imaginations of more than 80,000 people yearly through the power of live theater. Among the company’s honors: 2010 Mayor’s Arts Award, Paul G. Allen Family Foundation Founder’s Award, 2012 Governor’s Arts Award, and three Gregory Awards for Outstanding Production. www.book-it.org
CENTER THEATRE AT THE ARMORY
BOX OFFICE CONTACT
BOX OFFICE
206.216.0833 • boxoffice@book-it.org
Seattle Center 305 Harrison Street, Seattle ADMINISTRATION CONTACT
ADMINISTRATION OFFICES
206.216.0877 • info@book-it.org
401 Mercer St., Seattle
Shirley Roberson Senior Associate, Hughes Media Law Group
Steven Schwartzman
Attorney, U.S. Postal Service, Western Law Department
Christine Stepherson Founder, Team Soapbox
Lordia Williams
Senior Human Resources Manager, Amazon Web Services
EMERITUS BOARD Ross Baker
Joann Byrd
Dan Kuhn
Deborah Swets
Ruth Valine
Kris Villiott
Liz Warman
Audrey Watson
HONORARY BOARD Sonya Campion
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A-16 BOOK-IT REPERTORY THEATRE
Emily Davis
Ann Ramsay-Jenkins
Beth McCaw
Tom Robbins
Garth Stein
Dialogue
Encore Stages in conversation
Fall Press Corps Intensive lesson. Photo courtesy of Mariko Nagashima.
Encore Stages recently sat down with four members of the new TeenTix Press Corps, along with Mariko Nagashima, the Press Corps manager, for a behind the scenes look at what arts journalism means to them.
Since 2006, the TeenTix Press Corps has collaborated with professional critics to mentor teens interested in arts journalism through workshops and intensives. In 2015, TeenTix put the Press Corps on hiatus in order to put racial equity and social justice at the center of the program. They relaunched in Spring 2018 and we couldn’t be more excited. Danielle Mohlman: What about arts journalism most appeals to you? How did you get started in this field? Ben Capuano, senior at Mercer Island High School: I got introduced through
my school paper. Compared to other articles that we would put out, reviewing had an increased emphasis on writer voice, which I really enjoyed. I got interested in criticism from watching reviews on YouTube—where you really need a personality that shines through
all of your work. That was something that inspired me when I started out. And I think just over time it’s been easier to—well, I guess I’m actually still working on finding my voice. I think that’s a lifelong process as well. Or a career-long process. Capuano: Yeah. (Laughs.) Mariko Nagashima, Press Corps manager: For sure. encoremediagroup.com/programs 9
Huma Ali, junior at Lake Washington High School: I definitely agree with
what Ben said about how you get to have an opinion, but it’s also not just about your opinion. You actually have to look at the piece of art critically and assess what the artist did, how they did it and the constraints they had. And arts journalism also serves as a record for the artistic events that have happened over time. Erin Croom, senior at Garfield High School: I feel like writing arts criticism
is a more formal expression of my opinion. Because it’s one thing to talk to my friend and say, “Oh I liked this movie.” Or “I didn’t like it.” But to analyze it in a more—not really intellectual or scholarly way—but in writing. In words that make sense on paper instead of how I’m talking right now. Nagashima: You kind of figure out your
opinion about something as you’re writing about it? Croom: Yeah. Ali: And I think you can also figure
out why you think that. Because when you’re talking to your friend, you’re like, “Yeah, I don’t like it.” But when you’re writing about it, you have to really dig deep and think, “Well, why don’t I like it?” There are joys that come with arts journalism, but there are also challenges. Talk to me about a challenge you’ve faced and how you worked through it. Joshua Fernandes, junior at Ballard High School: One of the challenges that
I faced recently was figuring out how to review something that I’m not really familiar with the medium of. I recently reviewed an improv show—and that was my first improv show. And it was a horror show—and that was also my first horror-themed experience. So, approaching it from a position where you’re knowledgeable, but at the same 10 ENCORE STAGES
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Fall Press Corps Intensive lesson. Photo courtesy of Mariko Nagashima.
time vulnerable. It’s really hard to strike a balance between the two and still make yourself sound authoritative.
Once you sat down to write your review, did you feel the same way about the film as you had initially?
Right, because we’re expected to be experts for the readers, even if we’re not.
Croom: I think so. It was just easier to
Croom: I guess I had kind of an
for TeenTix, it was hard for me to physically juggle my notepad. I’d never really taken a notepad to go review a show before.
opposite experience when we saw the film White Rabbit. Film is where I feel the strongest, but with this one . . . it was just kind of odd and I didn’t really like it. And it was disappointing that I didn’t like it because I wanted to like the movie. I was kind of at a loss for what to say about it because I don’t want to tear it to shreds; it doesn’t deserve that. So, I researched. I looked at some other people’s reviews to see what they thought and how that compared to what I thought. And that helped me figure out my own ideas. 12 ENCORE STAGES
articulate. Capuano: During my first review
And writing in the dark! Capuano: Yeah! And I didn’t know
how much to focus on my notes at the expense of not focusing on the show. So, I went on a note taking hiatus for a lot of the performance and then when I went back to write my review I was like, “Ah, I wish I had taken notes on this.”
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Fall Press Corps Intensive at a Seattle Repertory Theatre performance. Photo courtesy of Mariko Nagashima.
Ali: Well, generally I think it’s hard to
write how you’re authentically feeling when you’re seeing a new medium that you don’t know much about. It’s also hard to write about different types of art. Like we were just talking about: when you have a lot more practice with film, it might be harder to write about visual art. I enjoy theatre, so when I write about plays, it generally turns out better than when I write about visual art. It’s hard to find a balance. Nagashima: Also, there’s been a little
bit of a challenge in deciding what kind of style or voice TeenTix reviews want to have and deciding what, editorially, that looks like. Because this is new for everybody. We’ve never done this before. If you ran your own arts publication, what would it look like? What would you prioritize in terms of journalists and coverage? Ali: It would look like the Press Corps
program. I just like how everything’s set up.
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Nagashima: Because you helped set
it up.
Business, meet Broadway. Encore Media Group connects businesses and brands to the best of arts & culture in the Bay Area and Seattle. We’re proud to have published programs for Seattle-area arts organizations since 1976. From jewelers and restaurants to galleries and schools, smart business owners know Encore is the best way to get their brand in the spotlight.
Ali: Oh yeah that makes sense.
(Laughs.) I like the process. It’s effective and it’s fun. It’s a very enjoyable process—especially how our editors go see shows with our writers. Croom: I really like how in the Press
Corps Intensive everyone is femaleidentifying. And it’s just a totally different sense of community than in my classes, where it’s both girls and boys. I think that focus, even though it’s not intentional—it’s just people who applied and got in—but it really does have an effect on how we discuss art and how we are willing to share our impressions and responses. Ali: And the people who are involved
want to be involved. At school, things are made more painful because people don’t want to be there. But when you’re doing Press Corps, everyone wants to be there and they do their part, so it makes it a lot more enjoyable. Fernandes: I would agree. It’s just a
lot of people who are really passionate about art and they love doing what they do. And, ideally, they would never get burned out. And they’d continue to do what they love just because they love it. Capuano: I read the TeenTix review
for A Star is Born, and I had seen that movie. And when I read that review, I was able to have a different perspective on it—even though I had already seen it. I guess my ideal publication would allow people to take things that they were already somewhat familiar with and view it with a different perspective.
■ Danielle Mohlman To learn what Encore can do for your business, visit encoremediagroup.com.
14 ENCORE STAGES
This round table was lightly edited and excerpted from an interview conducted November 7, 2018.
Intermission Brain Transmission Are you waiting for the curtain to rise? Or, perhaps, you’ve just returned to your seat before the second act and have a few minutes to spare? Treat your brain to this scintillating trivia quiz! Email us the answer to the last question and have a chance to win tickets to a show!
1) Seattle Shakespeare Company presents All’s Well That Ends Well, playing January 8–February 3. One of the bard’s “problem plays”, it is based on a story from a book written by Giovanni Boccaccio in the 14th century. What’s the title of Boccaccio’s book? a) b) c) d)
Palace of Pleasure The Decameron The Canterbury Tales Fairy Tales from Past Times with Morals
a) b) c) d)
Salt castle Waltzing-place Sea mountain Saint’s town
Stevie Van Bronkhorst
2) Meany Center for the Performing Arts will present Italian pianist Filippo Gorini on February 15. Gorini was educated in Bergamo, Italy and Salzburg, Austria. What is the literal meaning of the word “Salzburg”?
Illustration based on the Chandos portrait (attrib. to John Taylor), believed to be William Shakespeare.
3) American Junkie, a play based on Tom Hansen’s memoir, will play at Book-It Repertory Theatre February 14–March 10. The author’s biological father was Jack Stangle. What was Jack Stangle primarily known as? a) b) c) d)
A Washington State senator who served the 1950s An early trailblazer of regional cancer research A famous Northwest realist painter The architect responsible for early concepts of the Downtown Seattle Transit Tunnel
4) Taproot Theatre will show the classic play Arsenic & Old Lace January 23– March 2. This play, written by Joseph Kesselring, was later made into a film by Frank Capra. For which film did Capra win an Academy Award? a) b) c) d)
It’s a Wonderful Life Mr. Smith Goes to Washington Prelude to War Lost Horizon
Bonus Question What was the last arts performance you attended that you liked best and why? Email your response to production@ encoremediagroup.com with “Trivia Quiz” in the subject line.
ANSWERS: 1) b. The Decameron. This compendium of retold and original stories is set in a framing story of ten young people telling each other tales to pass the time during a fortnightlong vacation from plague-ridden Florence. 2) a. Salt castle. 3) c. A painter. Jack Stangle (1927–1980) was a revered character in Seattle art history known for his confident landscape paintings and uncompromising commitment to art. 4) c. Released in 1942, the propaganda film Prelude to War won the Oscar for Best Documentary in the following year.
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